May 13, 2018

Behind the US/Worldwide Weekend Box Office – 5.13.2018


OPENINGS:  Even with a big Mother’s Day bump of 24% (the same as last year’s Snatched), the $18.5M weekend for LIFE OF THE PARTY (New Line/Warners) is the lowest of Melissa McCarthy’s starring career, and even lower than Snatched‘s $19.5M.  The Mother’s Day bump means that next weekend’s drop will likely be dramatic, and if Party follows the Snatched model, it may not even reach $45M in the US, another low for McCarthy and a significant loss on production/marketing costs around $100M.

BREAKING IN (Universal) cost much less to produce than Life Of the Party, so with an $16.5M opening it has a better chance to at least approach breakeven, although it may not have much traction overseas.

HOLDOVERS:  AVENGERS: INFINITY WAR (Marvel/Disney) will soon find out what real competition looks like, but this weekend was again without significant challenge, and it had a 46% Weekend 3 drop to $61.8M, matching the 3rd weekend percentage drop of The Avengers and better than the 50%/54% drops for Ultron and Captain America: Civil War, although not quite at the 40% level of Black PantherInfinity War could reach $675M in the US.  The more important news of its weekend, though, was its arrival in China, where its $200M opening was, depending on which currency is used for comparison, the #1-3 opening there ever.  Infinity War is now at $1.6B worldwide, and next week will pass Jurassic World as the #4 title in history, the only question remaining being whether it can become the 4th movie (after Avatar, Titanic and The Force Awakens) to hit $2B.

OVERBOARD (MGM/Pantelion/Lionsgate) is also benefiting from a Mother’s Day bump, giving it a mild 31% Weekend 2 drop to $10.1M, and still on track for $45M in the US.

A QUIET PLACE (Paramount) isn’t even including a holiday bump in its calculations, and yet it’s still down a spectacularly low 17% in its 6th weekend to $6.4M, and now looks like it will top $180M in the US.  It’s also crossed $100M overseas.

I FEEL PRETTY (Voltage/H Brothers/STX) is yet another female-led property enjoying Mother’s Day with a 27% drop in its 4th weekend to $3.7M, and it might make its way to $50M in the US, a bit better than Snatched‘s $45.9M.

RAMPAGE (New Line/Warners) dropped 27% to $3.4M on its 5th weekend thanks to big Fri/Sat business, but it still seems likely to run out of gas before reaching $100M.  Overseas, however, it’s at $307.4M, about half of that from China.

TULLY (Fox Searchlight) is also looking for a strong Mother’s Day, and estimating a mild 32% drop on its 2nd weekend to $2.2M, which still won’t get it much beyond $10M in the US.

BLACK PANTHER (Marvel/Disney) is now available for home viewing, but down just 41% in Weekend 13 to $1.9M, as it methodically climbs toward $700M in the US.  Its overseas total is $645.2M.

LIMITED RELEASE:  RBG (Magnolia) managed a berth in the weekend’s Top 10 at just 180 theatres, with a $6500 per-theatre average, once again comparable to the $7200 average I Am Not Your Negro had for the same studio at 115.  It seems very capable of matching or even topping that film’s $7.1M US total.  The Spanish-language NOTHING TO LOSE (Swen) averaged $9400 at 69 theatres.  DISOBEDIENCE (Bleecker Street) widened to 101 with a $4300 average.  THE RIDER (Sony Classics) was a notch below, averaging $2700 at 85.  LET THE SUNSHINE IN (IFC) averaged $3300 at 33.  Newcomers THE SEAGULL (Sony Classics) and BEAST (Roadside) both averaged a modest $13K, respectively at 6 theatres and 4.

NEXT WEEKEND:  Infinity War‘s reign comes to an end, and the summer movie season begins in earnest, with the arrival of DEADPOOL 2 (20th).  The older-female-skewing BOOK CLUB (Paramount) and family comedy SHOW DOGS (Global Road) might as well have been retitled “Counterprogramming.”  Limited releases include POPE FRANCIS: A MAN OF HIS WORD (Focus/Universal), FIRST REFORMED (A24), and ON CHESIL BEACH (Bleecker Street).

About the Author

Mitch Salem
MITCH SALEM has worked on the business side of the entertainment industry for 20 years, as a senior business affairs executive and attorney for such companies as NBC, ABC, USA, Syfy, Bravo, and BermanBraun Productions, and before that, at the NY law firm of Weil, Gotshal & Manges. During all that, he has more or less constantly been going to the movies and watching TV, and writing about both since the 1980s. His film reviews also currently appear on and In addition, he is co-writer of an episode of the television series "Felicity."